Fang Island's debut record, long out of print and back in stock as daisy pink splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids.

Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default.

At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs.

When people tried to call them "math-rock," they thought of themselves as "recess rock." Fang Island shared bills with uber-buzzy bands like Yeasayer and Chairlift at Cake Shop and Santos Party House, crucibles for Brooklyn hype at the turn of the aughts; but their most impactful co-sign came from Andrew WK.

At least until Fang Island earned an unexpected Best New Music review at Pitchfork; in the style of the time, the group - now including drummer Marc St.

Sauver and guitarist Nick Sadler - were thrust from playing "literally empty shows" at hot dog stands in Ohio to becoming the toast of SXSW and starting their North American tour with psych-rock idols the Flaming Lips in an Atlantic City casino.

They would later play sprawling amphitheaters with Stone Temple Pilots, and in perhaps the best demonstration of their ability to wield pop smarts to guitar pyrotechnics, both Matt & Kim and Coheed & Cambria.